In the “Artworks (II)” section of “Usonian Journals 2000,” Adrienne Rich describes the breakdown of a conversation between a group of friends: “Not a pause but: a suppression. No one is monitoring this conversation but us. We know the air...
Evy tells us we got it wrong about our brother. She’s his wife, Artie’s defender, and she says we misunderstand him, that there’s a goodness about him hidden in the antics. And I agree with her. There’s the time he taught my daughter Helen...
The work of Adrienne Rich belongs instead to a legacy that fuses surface effect with affect; whose cultural style, too, can join outrage and joy. Such affirmative promise is what Kenneth Burke referred to as one of shaping attitudes or...
